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Peeter Torop* ARTIGOS http://dx.doi.org/10.1590/2176-457338851 Teoria russa e semiótica da cultura: história e perspectivas / Russian Theory and Semiotics of Culture: History and Perspectives Peeter Torop* RESUMO A Escola de Tártu-Moscou aceitou, como atitude profissional, reconstruir a tradição e ligar-se com as realizações - esquecidas ou reprimidas cultural e cientificamente - das primeiras décadas do séc. XX. Uma missão de Lotman como um de seus líderes foi conhecer e mediar a herança esquecida. Na situação de censura muitos contatos entre Lotman e a teoria russa não estavam visíveis. Dessa forma, a síntese de Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein e outros, num intenso diálogo implícito, pode ser a base para a formação da próxima etapa da semiótica da cultura. Enfim, a compreensão de Tynianov acerca da dinâmica literária e cultural, a teoria semiótica lotmaniana de texto e seus pensamentos sobre um modelo de espaço como uma das linguagens primárias da cultura, e a teoria bakhtiniana do cronotopo formam um complexo teórico que pode oferecer novas possibilidades para o desenvolvimento tanto dos princípios culturais teóricos e práticos quanto da análise textual. PALAVRAS-CHAVE: Lotman; Bakhtin; Teoria russa; Texto; Cronotopo ABSTRACT The Tartu‒Moscow School accepted as its professional attitude to reconstruct the tradition and connect itself to the forgotten or repressed cultural-scientific achievements of the period of the first decades of the 20th century. One mission of Lotman as one of the leaders of the Tartu-Moscow School was knowing and mediating forgotten heritage. In the situation of censorship many contacts between Lotman and Russian theory were not visible. Thus, the synthesis of Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein and others, in an implicit dialogue, can be the basis for the formation of the next stage of semiotics of culture. Finally, Tynjanov’s understanding of literary and cultural dynamics, Lotman’s semiotic theory of text and his thoughts about a model of space as one of the primary languages of culture, and Bakhtin’s theory of chronotope form this theoretical complex that can give new possibilities for developing both, theoretical and practical principles of cultural and textual analysis. KEYWORDS: Lotman; Bakhtin; Russian theory; Text; Chronotope * Universidade de Tártu, Instituto de Filosofia e Semiótica, Departmento de Semiótica, Tártu, Estónia. [email protected]; https://orcid.org/0000-0001-9392-2909 18 Bakhtiniana, São Paulo, 14 (4): 18-41, out./dez. 2019. Todo conteúdo de Bakhtiniana. Revista de Estudos do Discurso está sob Licença Creative Commons CC - By 4.0. 1 Panorama histórico Na história linear da escola formalista russa, um intervalo a separa de sua recepção crítica. Depois das atividades dos anos de 1910-1920, um novo interesse no formalismo surgiu nos anos de 1960, associado com o nome de Iúri Lótman e a escola semiótica Tártu-Moscou. A próxima etapa desse interesse pelo formalismo foi representado pela reedição e estudos dos trabalhos escritos pelos formalistas (IVANOV, 2013, p.15-16). Nessa lógica histórica linear, a fase seguinte dos interesses sobre a herança do formalismo russo aconteceu no início do século XXI , quando, em 2002, se organizaram as conferências Teoria eslávica hoje: entre história e sistema, em Yale, e Estudos lotmanianos, em Moscou, com a ulterior publicação dos trabalhos no volume Teoria russa (ZENZIN, 2004). Há, contudo, uma história menos linear do formalismo russo. Em sua introdução ao livro de resumos da conferência dedicada aos 100 anos do surgimento do movimento formalista, V. Ivánov distinguiu dois períodos: de 1910 aos meados dos anos de 1920 acontece o período fértil de intensa atividade dos formalistas, ao passo que, a partir de meados dos anos de 1920, inicia-se o período de análise crítica e de revisões realizadas por pesquisadores tais como Liév Vigótski e Mikhail Bakhtin (IVANOV, 2013, p.14- 15). Podemos encontrar uma análise profunda dos trabalhos iniciais de Vigótski e Bakhtin no contexto do formalismo no livro de Aage Hansen-Löve (2001, p.411-446). A diversidade interna do formalismo gerou um espaço dialógico adequado para contatos com outras abordagens teóricas. Em sua retrospectiva, Sergey Zenkin sumariza as teorias dos anos de 1920 a 1930 como uma complexa totalidade, denominando-a “teoria russa”. De seu ponto de vista, a história da teoria representa um fenômeno científico-cultural que compreende, por um lado, literatura e arte, e de outro, filosofia, religião e ideologia. Como resultado, a teoria russa pode ser descrita como um tipo de discurso teórico a partir do qual se constitui parte significativa da cultura geral. As características dessa teoria são a interdisciplinaridade, a internacionalidade e uma recodificação de concepções filosóficas em conceptualizações científico-teóricas (ZENKIN, 2004, p.8-9). No nível das descrições comparativas de diferentes escolas dos anos de 1920 e 1930 há não somente diversidade teórica e filosófica como também relações críticas entre elas. Um Bakhtiniana, São Paulo, 14 (4): 18-41, out/dez. 2019. 19 Todo conteúdo de Bakhtiniana. Revista de Estudos do Discurso está sob Licença Creative Commons CC - By 4.0. dos exemplos pode ser o círculo de Bakhtin – suas próprias anotações críticas em relação ao formalismo russo e o livro de Pável N. Medviédev, O método formal nos estudos literários: introdução crítica a uma poética sociológica [Trad. Sheila Grillo e Ekaterina Américo. São Paulo: Contexto, 2012]. No nível da descrição geral, é visível a complementaridade entre as escolas e a possibilidade de conceitualizar toda uma diversidade como um conjunto intelectual. É possível reconhecer o mesmo tipo de conceitualização histórica no campo da semiótica cultural. Os pesquisadores russos Vladímir Feshchenko e G. Tulchinski introduziram a noção de semiótica profunda para a descrição do mesmo complexo intelectual. Para Feshchenko, o primeiro representante da semiótica profunda foi G. Shpet, cuja [...] abordagem semiótica desenvolve-se sincronicamente com as linhas dominantes da semiótica europeia e americana (de forma geral, a saussuriana e a peirceana), mas não suficientemente conhecidas e estudadas. Publicações recentes dos estudos desconhecidos de Shpet faz desse filósofo uma figura visionária na cena semiótica russa (FESHCHENKO, 2015, p.236)1. Shpet foi pioneiro no uso da palavra semiótica na linguagem russa em 1915, mas ele não estava sozinho: Nesse ínterim, Shpet não estava sozinho no campo da semiótica, da poética e da filosofia da linguagem. Traços da semiótica profunda estão presentes também nos trabalhos de seus contemporâneos – por exemplo, o poeta Andrei Biéli e o teólogo Pável Floriênski. Versões modificadas da concepção de forma interna podem ser encontradas na teoria da arte de Wassili Kandinski, assim como nos escritos acadêmicos de Liév Vigótski, Mikhail Bakhtin, Vladímir Volochinov, dentre outros (FESHCHENKO, 2015, p.245)2. 1 No original: “[…] semiotic approach was developed synchronically with the major lines in European and American semiotics (loosely speaking, the Saussurian and Peircean ones), but is not sufficiently known and studied. The recent publications of previously unknown papers by Shpet make this philosopher an advanced figure on the Russian semiotic scene”. 2 No original: “Meanwhile, in Russia Shpet was not the only one working in the field of semiotics, poetics and philosophy of language. Features of deep semiotics are also present in the works of his contemporaries – for example, the poet Andrey Bely and the theologian Pavel Florensky. Modified versions of the conception of the inner form may be found in Wassily Kandinsky’s theory of art, as well as in scholarly writings by Lev Vygotsky, Mikhail Bakhtin, Vladimir Voloshinov, and others”. 20 Bakhtiniana, São Paulo, 14 (4): 18-41, out./dez. 2019. Todo conteúdo de Bakhtiniana. Revista de Estudos do Discurso está sob Licença Creative Commons CC - By 4.0. Para Tulchinski os primeiros semioticistas profundos foram Bakhtin, Floriênski e Vigótski (TULCHINSKY, 2001, p.193). Essas duas tendências mostram que a história do formalismo russo, a teoria russa e a história da semiótica cultural estão inter- relacionadas. No primeiro momento de emergência da escola Tártu-Moscou da semiótica da cultura, sua principal característica foi a atualização da herança precedente de conquistas culturais ocorridas nas três primeiras décadas do século XX no campo das humanidades na Rússia. A revista de semiótica Sign Systems Studies (editada por Iúri Lótman em Tártu, a partir de 1964), como a manifestação da nova escola, evidencia os vários direcionamentos e modos de atualização. O primeiro modo pode ser denominado atualização avaliativa: dedicou seus volumes ao estudo dos trabalhos dos predecessores: I. Tiniánov (vol. 4, 1969), V. Propp (vol. 5, 1972), M. Bakhtin (vol. 6, 1973) e P. Bogatiriev (vol. 7, 1975). O segundo modo é representados pelas reimpressões e publicações de arquivos e textos desconhecidos, como o de P. Floriênski (vol. 3, 1967), B. Jarkho (vol. 4, 1969), B. Eikhenbaum, A. Selischev, B. Tomashevski (vol. 5, 1971), О. Freidenberg, S. Bernstein (vol. 6, 1973) e J. Mukařovský (vol. 7, 1975). Como outro modo de atualização, pode-se citar a estratégia alusiva (quando é possível reconhecer ênfases, exemplos de retomadas de autores anteriormente excluídos ou, em um contexto crítico, a menção positiva de certas exceções ou sínteses). Por exemplo, no volume inicial de Sign Systems Studies (1964), Lótman, por questões políticas, chegou a criticar
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